Vukasin Miskovic

(s0473067)

DUŠAN BOGDANOVIĆ
Life and Work

Kuenstlerische Masterarbeit

Betreuer: O. Univ. Prof. Dr. Peter Revers

Juni 2008

University of Music and Dramatic Arts

Graz

1
 Abstract

This work consist of III main parts, all directed in presenting the work and other
professional facts of Dusan Bogdanovic, Serbian guitarist and composer. His rich
personality inspired me to collect different aspects into one whole.

First part should be an introduction. It contents Biography and Discography,

showing wide perspective of activities (teaching, concretizing, composing, recording
with different musicians).

Second part presents two books, both written by Dusan Bogdanovic. I took parts
which are interesting for me as a musician, and adequate in fitting in the whole piece.

Those books are:

1. Counterpoint for guitar-with improvisation in the renaissance style and study in

motivic metamorphosis

2. Ex Ovo

Third part is observing and analyzing the most famous piece for guitar written by
Dusan Bogdanovic, Six Balkan Miniatures, with Points about Technical Structure
added, and a copy of the scores.

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 Content:

I Biography................................................................................................................. 3

Discography..................................................................................................................... 4

II Synthesis.................................................................................................................. 7

Improvisation in the Renaissance style......................................................... 8

Scales and fingering patterns....................................................................................... 8

Improvising renaissance melodic patterns................................................................ 10
Condensed renaissance melodic patterns................................................................. 11
Cadential and modulatory exercises.......................................................................... 12
Variation technique....................................................................................................... 15
Imitation technique....................................................................................................... 20
Formal application of imitation technique............................................................... 22

Ex Ovo........................................................................................................................... 27
Baroque and Jazz: Musical Twins.............................................................................. 27
Ex Ovo............................................................................................................................. 34
Introduction to Ex Ovo................................................................................................. 39

III Six Balkan Miniatures.................................................................................... 41

Points about Technical Structure (to fellow guitarists)......................................... 43

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 I

BIOGRAPHY

Dusan Bogdanovic was born in Yugoslavia in 1955. He completed his studies of

composition and orchestration at the Geneva Conservatory with P. Wissmer and A.
Ginastera and in guitar performance with M.L.São Marcos. Early in his career,among
many international awards, he received the only First Prize at the Geneva
Competition and gave a highly acclaimed debut recital in Carnegie Hall in 1977.

Innovative composer, improviser and guitarist, DusanBogdanovic has explored

musical languages that are reflected in his style today- a unique synthesis of classical,
jazz and ethnic music. As a soloist and in collaboration with other artists, Bogdanovic
has toured extensively throughout Europe, Asia and the United States. His
performing and recording activities include work with chamber groups of diverse
stylistic orientations including The Falla Guitar Trio and jazz collaborations with
James Newton, Milcho Leviev, Charlie Haden, Miroslav Tadic, Mark Nauseef,
Anthony Cox and others. He has over fifty published compositions ranging from
guitar and piano solo works to chamber and orchestral ensembles (Berben, GSP,
Doberman-Yppan et al.), as well as close to twenty recordings ranging from Bach
Trio Sonatas to contemporary works, and a Billboard Top Ten New Age record.

After being nominated professor at the Geneva Conservatory while still in his early
twenties, Bogdanovic later taught at the Belgrade Academy, and at the University of
Southern California. Presently engaged by the San Francisco Conservatory, Dusan
Bogdanovic divides his time between teaching, composing, and concretizing.

“Bogdanovic's playing simply acts as a vehicle for his luminous, multicultural

compositions. But what playing! Wielding a solo classical guitar, Dusan handles
tricky polymeters, Balkan melodies, startling counterpoint, and oud- inspired
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improvised lines with nuance and sinewy grace. The depth of ideas and clarity of his
playing borders on spooky. If you love guitar, you must investigate this jewel”.
Guitar Player, USA, 1996. (www.dusanbogdanovic.com)

“Dusan Bogdanovic continues to prove him self to be one of the true originals of the
guitar. His unique vision is born of his trans- Atlantic experiences seasoned with a
complete mastery of ethnic folk, jazz & classical traditions, making this music rich in
complexity and meaning. He has much to say, handling the large sonata structures as
effortlessly as the slight miniature Secrets, and he does so with authority, wit and
humor. To enter his world is to know delight, and this new collection is a veritable
treasure chest, brimming with rare and exotic jewels: don't miss it”.
Soundboard, USA, 1996 (www.dusanbogdanovic.com)

DISCOGRAPHY ( www.dusanbogdanovic.com)
DO 339 CANTICLES , Chamber music of Dusan Bogdanovic, 2001
Crow, Quatre pièces intimes, Five Songs (2nd song), Canticles, Like a String of Jade
Jewels (1st, 5th, 4th songs), Balkan Mosaic performed by Antoine Garth, André
Papillon, Yanick Chênevert, Rafael Hoekman, Vismaya Lhi, Gruber-Maklar, Dusan
Bogdanovic, the TME Ensemble

INT 3510-2 YANO MORI , Intuition Records, Germany, 1999

Compilation recordings of Jazz Sonata (2nd, 4th mvts.), Little Café Suite (3rd mvt.),
Pastorale no. 1, New York Afternoon, Yano Mori, Byzantine Theme and Variations,
Grasshopper Maker's Song, Oh Yesenske Oy performed by Dusan Bogdanovic,
Miroslav Tadic, Sharon Wayne and Todd Garfinkle, produced by
Lee Townsend

M.A 019A KEYS TO TALK BY , M.A, Japan and US, 1992

Trio (arr. for two prepared guitars and percussion), Polymetric Studies,
Byzantine Theme and Variations performed by Miroslav Tadic, Mark Nauseef
and Dusan Bogdanovic

M.A 013A LEVANTINE TALES , M.A, Japan and US, 1992

Introduction and Passacaglia, No Feathers on This Frog, Furioso, Winter Tale,
Raguette no. 1, Lullaby for Angel Fire, Oh Yesenske Oy performed by Miroslav
Tadic, Malisa Drskoci, Todd Garfinkle and Dusan Bogdanovic

M.A 009A WORLDS , M.A, Japan and US, 1989

Jazz Sonata, My Eternal Green Plant, Cinq miniatures printanières, Sharon's
Songdance, Yano Mori, Grasshopper Maker's Song, Gamelitar music, Desert
Blossom, Morning performed by Dusan Bogdanovic

GSP 1017CD UNCONSCIOUS IN BRAZIL , GSP, US, 1999

Three African Sketches, Levantine Suite, Little Café Suite, Polymetric Studies,

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Unconscious in Brazil, In Winter Garden, Diferencias Diferentes, Intimations
performed by D. Bogdanovic

GSP 1014CD MYSTERIOUS HABITATS , GSP, US, 1995

Mysterious Habitats, Jazz Sonatina, Seven Little Secrets, Omar's Fancy, Four Easier
Polymetric Studies, Introduction, Passacaglia and Fugue, Sonata no. 2, A Fairytale
with Variations performed by Dusan Bogdanovic

QSCD-4025, EARLY TO RISE (Palo Alto Jazz Masters),

Quicksilver Records, 2003
Jazz Sonata (2nd, 4th mvts.), New York Afternoon, Furioso, Early to Rise, Prelude
and Runaway Fugue, Raguette no. 1, Compulsion, Lullaby for Angel Fire performed
by James Newton, Charlie Haden, Tony Jones and Dusan Bogdanovic

S.A. 1039CD BACH WITH PLUCK! , ESS.A.Y, US, 1992

Johann Sebastian Bach, The Six Trio Sonatas, BWV 525-530

S.A. 1039CD BACH WITH PLUCK! , ESS.A.Y, US, 1994

Johann Sebastian Bach, The Inventions & Sinfonias, BWV 772-801

DO 458 And Yet..., 2005 Music for guitar by Dusan Bogdanovic

Marc Teicholz, William Kanengiser, Douglas Masek, James Smith, Gruber-Maklar
Duo, Shirley Yamamoto, Yoko Awaya, Dimitri Illarionov, Bel Arts Trio, Duo
Goyescas, Vera Ogrizovic, Saint George Chamber Orchestra

M.A 023A IN THE MIDST OF WINDS , M.A, Japan and US, 1994
Raguette no. 2, Pastorale no. 1, Little Café Suite, Prelude, In the Midst of Winds,
Dreamland, Four Bagatelles, Meditation performed by Sharon Wayne, Todd
Garfinkle and Dusan Bogdanovic

ASPIRATION , Dusan Bogdanovic & Bruce Arnold

AN 74321 77074 2 4 MILES 2 DAVIS , Arte Nova, Germany, 2000

Jazz Sonata performed by Augustin Wiedemann

BERCD 826-2 MUSICHE ORIGINALI PER CHITARRA DEL SECOLO XX (vol. 2) ,

Edizioni Berben, Italy, 1996
Lyric Quartet performed by Quartetto di Asti

CCD 42013 THE FALA GUITAR TRIO , Concord Records, US, 1989
Jazz Sonata (arrangement for three guitars by the composer)

DE 3207 WILD MOUNTAIN THYME , Delos Records, US, 1998

Mysterious Habitats performed by Scott Tennant

GHA 126.008 20th CENTURY MUSIC FOR GUITAR (VOL. 1) , GHA Records,

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Belgium, 1990
Sonata no.1 performed by Eduardo Isaac

GHA 126.030 20th CENTURY MUSIC FOR GUITAR (VOL. 3) , GHA Records,
Belgium, 1993
Jazz Sonata performed by Eduardo Isaac

GHA 126.041 JUEGOS DEL VIENTO , GHA Records, Belgium, 1998

Pastorale no. 1 performed by Le Trio de Cologne

GSP 1006CD ECHOES OF THE OLD WORLD , GSP, US, 1993

Six Balkan Miniatures performed by William Kanengiser

MM 01612-67145-2 LAMENTS AND DANCES , Music Masters, US, 1994

Three Straws, No Feathers on This Frog, Sonata Fantasia performed by Newman-
Oltman

NIC 1034 WORKS FOR GUITAR DUO , Niccolo, Italy, 2000

Sonata Fantasia performed by Caputo-Pompilio

PGP/RTB 530050 VALTER DESPALJ and DUSAN BOGDANOVIC , PGP/RTB,

Yugoslavia, 1988
Quatre pièces intimes (cello and guitar)

R279303 A JOURNEY HOME , Global Pacific/CBS, US, 1989

Bilyana, Castles of the White City, Yovano Yovanke, Of Toys and Cookies, Yano
Mori performed by Georgia Kelly and Dusan Bogdanovic

R/F 305.1096 RECITAL DE VIOLAO , RGE/ Fermata, Brazil, 1979

Sonata no. 1 (Ist mvt.) performed by Dusan Bogdanovic

S 2028 LIKE A STRING OF JADE JEWELS , Dynamic S.r.l., Italy, 1999

Mysterious Habitats, Six pièces enfantines, 7 Etudes, My Eternal Green Plant,
Sharon's Song-dance, Cinq miniatures printanières, A Fairytale with Variations, Six
Native American Songs, Four Bagatelles, Castles of the White City, Oh, Long
Automn Nights, Lassie's Lullaby performed by Antonia Brown, Sabina Picarelli,
Vincenzo Greco, Adriano Sebastiani

SIG X68-00 ATTACCA , Signum, Germany, 1996

Sonata Fantasia performed by Gruber-Maklar

SK 60274 L.A.C.Q. , Sony Classical, US, 1998

Mysterious Habitats performed by John Dearman

VGO 1001 AMERICAN GUITAR MUSIC , VGO Recordings, US, 1999

Jazz Sonata performed by Lawrence Ferrara

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 II
SYNTHESIS

In this part of my presentation, I will try to give a closer look into theoretical, but also
practical work of Dusan Bogdanovic. We all know him as a performer, composer of
some of the most played works of guitar literature after 1950. However, underneath
this very densely surface, lies a personality with deeply carved aesthetical points of
view about performing, composing, improvising, and analyzing music itself.

As a corner stone of this research, I have used two books, both written by Dusan
Bogdanovic. First is called ‘Ex Ovo’, and it represents a collection of essays directed
in explaining the musical world of the past and present; the second, and the one that
is first to be presented is called COUNTERPOINT FOR GUITAR-with
improvisation in the renaissance style and study in motivic metamorphosis.
This textbook, consist of lectures and courses which author had taught for the past
several years at the(Conservatoire de Geneve, Switzerland; Accademia ‘Paolo
Chimery’, Lonato, Italy; University of Southern California in Los Angeles, and San
Francisco Conservatory, USA). Primary purpose of those lectures would be
integration of the creative processes of any guitarist with wide perspective on music.
The book is divided into three sections:

I – Counterpoint in two and three voices.

II – Improvisation in the XVI-century Renaissance idiom.

III – study in motivic metamorphosis

Since I have found the second part most inspiring and useful for my future
development as a performer, I have chosen it from the whole three, as a main subject
of further presentation.

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 IMPROVISATION IN THE RENAISSANCE
STYLE

This section of the book is about to give general guidelines to improvisation,

including guitar fingering, scale and rhythmical patterns, in use of making a larger
scope of improvisational practices. The Author attended to find a universal system, a
formal unit, which would make all the scales and systems understandable and
practical.

SCALES AND FNGERING PATTERNS

A system of fingering patterns, involving an essential position and than using either
the first or fourth finger ( of the left hand ) as an extension ( stretch), developed by
William Leavitt in his Modern method for guitar, was further refined to a system of
fingering patterns, transposable in two directions:
a) vertically ( from one string to another) and
b) horizontally ( from one position to another)

Example 4 demonstrates the use of fingering patterns in various scale contexts.

- ( i ) shows the F# major scale in basic position I

- ( ii ) shows the same scale in position III with the first – finger extension
- ( iii ) in position II with the fourth – finger extension
- ( iv ) demonstrates use of minor harmonic in position II with the fourth – finger
extension
- ( v )and (vi ) both use F# pentatonic scales ( Dham and Khamaj in the Indian
system of rags ) in basic position ( II ) with fourth finger extension
- (vii) the ‘Bhairav that’ in E demonstrates mixed extension of both first and
fourth fingers in position II.
9
Examples 7 and 8 show an additional type of exercise, using the same starting note
to traverse the scales trough the cycle of 5ths and 4ths, while staying in the same
basic position.

10
Example 8 uses the mode ‘Bhairav that’, based on the cycle of ascending 4ths.

IMPROVISING RENAISSANCE MELODIC PATTERNS

(preliminary exercises)

The patterns used in these melodic exercises have been selected from music for lute
and vihuela. Every pattern should start with simple quarter and eight notes,
proceeding to eighth and sixteenth to only sixteenth notes.

The triad is chosen as grounding for the exercises, because of its simplicity and
convenience, and to develop a stronger sense of rhythm, melodie and harmonie. The
triad is transposed from the tonic to the dominant, each lasting four bars. As the
exercise developing, passing and auxiliary notes are added.
Patterns |’a’, ‘ b ‘and ‘e’ use Ionian (major) mode; ‘c’ and ‘f’ use Dorian; ‘d’ uses
Mixolydian.

Example 9 demonstrates the pattern ‘a’ in five different positions; example 10, the
use of the same pattern in several progressions. ( i / iii )
To increase the level of efficiency, we should:
A) Exercise all the patterns in all positions.
B) Transpose all the patterns to various tonalities (modes)
C) Likewise , in example10, play all the patterns in different progressions

11
CONDENSED RENAISSANCE MELODIC PATTERNS
( preliminary exercises )

12
RENAISSANCE MELODIC PATTERNS
( cadential and modulatory exercises )

Example 13 demonstrates further elaboration on the patterns employed in example

12.The pattern ‘a’ has been used here to show both cadential progression ( I-VI-II-V)
and modulations to different keys (modes).The pattern ‘a 8’ modulates from D to h;
Patterns ‘b’ and ‘e’ are first shown in cadential progression ( I-VI-II-V ), then in T-SD-
T type of modulation. Since the original forms of ‘c’ and ‘f’ use Dorian cadential
progressions, they are shown here only in their modulatory form: ‘c6’ uses
modulatory shift from D-A-D Dorian (T-D-T ).The mixolydian pattern ‘d5’in its first
variant modulates from C to D ; in the second it also uses an intermediary
modulatory schift (A Aeolian) to return to the original mode ( from C to D
Mixolydian, to A Aeolian , to C again.)

The patterns, which the Author used in this exercises, are chosen from many
different sources, for ‘diversity sake’, and to give a larger overview, and universality
of language choices for the improvisational practice. If we want to use those patterns
for improvisation in already established parameters, we should not only stick to a
epochal references, then also to a particular styles of different composers. (note-
cadential turn typical for Narvaez in’ d5’ and ‘f4’) ; on the other hand, if we want to
create a new, improvising or composition language , any combination or variations
are, naturally, welcome.

13
14
15
VARIATION TECHNIQUE

If we look at the variation as a form, we should see many resemblances with the
improvisation. In Renaissance and Baroque eras, improvisation was integral part of
the musical processes, and a performer was expected to give his best in improvising
various types of forms, including variations on written or figured bass. The early
type of variation was very fluid an often did not have a double bar line between
different sets. We should also, not forget that the first Jazz improvisations were,
actually, variations on different popular tunes, and later on, developed into a formal
musical idiom.
Most varied dances in the XVI century were based on either ground bass or a set of
harmonic progressions. The type of form usually used was A – A’ - B – B’ - C – C’.
Example 20 displays the B section of Dowlands Lady Laitons Alman. An eight bar
period consists of two four-bar phrases. The first two bars of each phrase are both
built on the same rhythmic figure, but transposed melodically and harmonically (I 6
- VI in the first, II – V in the second.) Both phrases have the two initial bars in
common, but the endings differ: The first ends with a half cadence on the V degree,
and the second ends with a final on the tonic.

Example 21 shows alternative bass line patterns. On the one hand it is very
important to be flexible and to have a multitude of options when improvising; on the
other hand, it is also important to assimilate motives consistent sets of patterns in
order to develop the form in a musically logical way.
The examples ( i ) and ( ii ) show the basic harmonic outline; both use the same
rhythmic figure, but differ in that the first uses chords only in root position, while

16
the second uses chords in first inversion as well. All the following examples (iii, iv,v
)use both root and inverted positions, but different rhythmic figures.
The example (v) uses a more dynamic bass line with added eights, serving as passing
notes .The player is encouraged to create original bass lines by using other rhythmic,
melodic or harmonic figures.

In example 23 the Author has written , in a improvisatory manner , nine different

variations on the bass lines shown in example 20.The ( i ) variation uses the bass line
(iii) and only quarter and eight notes in the upper voice .
The example (ii) uses the same bass line with eight and sixteenth notes; the bass in
(iii) is a bit varied, with extended sixteenth note passages; (iv)uses the bass with the
upper line almost entirely in sixteenth note movement; (v) combines the bass with
an eight note upper line to create a contrapuntal dialog;(vi) further elaborates on the
same bass (v) with eight and sixteenth note figures; (vii) uses a variant of bass (v)
with mixed figuration in the upper voice;( vii) reverses the roles by using sixteenth
note figures in the lower voice with chordal movement in the upper voice based on
the rhythmic pattern of the bass (iii).

17
18
Example (ix) shows a more elaborate variation in three voices based on motivic
imitation, with an added final cadence in mixolydian mode.

Example 24 shows the A section of the same Alman by Dowland. The bass line is a
bit complicated, and the harmonic plan includes a tonicization in the third measure,
leading to a half cadence.

As a difference from a variation form , according to the terms of a tonal system ( such
as Lady Laitons Alman ) we should observe variation set by Narvaez, called
Differencias, an earlier renaissance period work, highly modal, typical for Spanish
vihuela music ( Example 26.)

19
If we look at this piece on micro structural level, we see a wealth of modes which
have been used, and according to D.B. there could bee resemblances with Arabic
maqam and Indian raga systems. Five modes have been employed: D Dorian; C
Lydian; D Aeolian (B Lydian); d minor melodic starting on the V degree (equivalent
to rag Carukesi in the Indian raga system); G Lydian ( example 29).

20
Every mode uses a #VII degree leading tone (example 30), which is most often used
as an auxiliary or a passing note.
The player should bee free to improvise further variations on the modal-harmonic
plan of the differencias, as well as other types of variation forms (Passemezzos,
Galliards, lute songs, etc.)

IMITATION TECHNIQUE

To make a right approach to this technique, we should start with exercises in

imitation in counterpoint in two voices. All of the exercises (with the exception of the
examle32) are incomplete, and are intended to improvisational practice. Every mode
is shown in two types of imitation: a) at the 5th; b) at the 8ve.Some exercises are
shown in stretto (examples 37, 40, 41, 42); example 43 is in inversion. Example 44
demonstrates a secondary application of the individual exercises: every exercise can
be connected to another, and, in that way, “practiced in the context of a larger
structural scheme, akin to Motet and Fantasia forms”(D.B. Counterpoint for guitar).
It’s up to players choice which modes to interlock in the course of spontaneous
formal development (the player is advised to interlock only the closest related
modes).We should also practice other types of imitations (imitation on all the other
degrees, in inversion), and transpose the given exercises to lower or higher 8ves.

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22
FORMAL APPLICATION OF IMITATION TECHNIQUE

In example 45, author created four alternative countermelodies to the motive of the
well-known Fantasia n.1 by Dowland (the half and quarter notes of the motive leave
more room for invention of rhythmically diverse counter melodies).

Example 46/53 show different application of imitation while using the same initial
motive. ”Forms using counterpoint in only two voices often create an illusion of tree
by adding a third restatement of the motive in a higher or lower register of one of the
voices”(D.B. Counterpoint for guitar) (example 46 ). Stretto technique is often used
(example 47), and imitations at other degrees besides the 5th and the 8ve are common
(example 48).

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Example 49 shows the use of the same motive in Aeolian (minor) mode; the third
entrance of the motive in the lower voice is to be noted.

Since there are many examples sequences, especially in the lute literature (F. da
Milano, L.de Narvaez, John Dowland), example 50 demonstrates a sequence based
on the cycle of 5ths, but within the same mode: I-V, II-VI, III-VII, etc. Example 51

24
uses a modulatory one (from D to A- to E- to B etc.) with a slightly varied initial
motive.

Example 52 demonstrates a similar type of sequence, but uses a shorter segment of

the varied initial motive.

25
In the further list of examples we have also a ‘paired imitation’, involving repetition
of the same phrase in two neighbouring voices in different registers (examples 53, 54
, 55).

As a conclusion of this chapter, we have example 56, written by Dusan Bogdanovic.

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27
 EX OVO
A GUIDE FOR PERPLEXED
COMPOSERS AND IMPROVISERS

Ex Ovo is a book, or better, collection of essays which came as a result of nearly two
decades of writing. Author thought, that even though those essays present a unique
entities, by putting all of them together, may have as a result one larger entity, one
that should be capable of giving a music world perspective.
The book consists of 8 chapters. The first one should be a foundation, and in a way,
introduction to a whole book. Others are going forward in improvisation,
composition, aesthetic and psychological synthesis, transformative motivic processes,
history of Western art, influences of ethnic music, analyses, contemporary music
streams, popular and communications media, etc.

The Chapters which were most interesting and inspiring for me are Chapter 3-
Baroque and Jazz: Musical Twins, and Chapter 4 - Ex Ovo. Those are the chapters I
have picked for a further presentation. (picture-M.C. Escher’s Plane-filling Motif with Reptiles,
Ex Ovo, page 45)

28
At the very beginning of this chapter we have a very interesting comparison which
has two figures involved: wild jazz saxophonist and a rigidly dressed court musician
wearing a wig. Even though judging by their presentation we couldn’t see any
similarity, if we go deeper into activity and creative processes of those two, we could
see many resemblances.
As we know, both Baroque and Jazz, come out of the very pragmatic and functional
social role of the musician and his product. The musician is tightly integrated into the
social surrounding, whether we think of celebrations in the lives of individuals
(weddings and funerals) or collective religious ceremonies (passions and masses).
Further on, both rely on more or less stylized dance forms ( swing , samba, gavotte or
gigue).Even though most contemporary interpreters of Baroque music do not
improvise, music of real Baroque artists rely almost as much on improvisation, as
music of contemporary jazz musicians. There, we have an integrated role of
composer-performer that matches both.

“If, at the time of creation, jazz broke new aesthetic ground with its physicality and
expressive amplitude, at this point it has become a stylized idiom appreciated by a
small pool of aficionados and is taught in academia, not like Baroque. Finally,
because of their reliance on a very coherent formal profile that is pattern-based and
rhythmically uniform, both idioms sound a bit “repetitive” to the uninitiated.”(D.B. Ex
Ovo, page 46)

Rhythm

Baroque and jazz show an equal level of stylization in their approach to rhythm,
although we see clear difference in their respective rhythmic profiles. ”Whether we
talk of ‘groove’ or ‘swing’ in Jazz, or of a typically Baroque ‘pulse‘, there is similarly
strong rhythmic drive and freshness in both Improvisation also makes them equally
flexible and somewhat imprecise, which is yet another sign of their mutual aliveness
and creativity.”

29
As an example of a freedom, Baroque performers could afford themselves, author
presented a piece written by Giulio Caccini (ca. 1550-1618) with his advice for
alternative interpretations for a) standard (loure), b) reversed (coule), and c) free
rhythm.

We should compare example 3.1 with the following composition of Dusan

Bogdanovic entitled Stirfry - note the way it is written with how it should be played
(usual writing for swing themes).

30
Rhythmical alteration was so much taken for granted in Baroque, that in order to
have eight note in largo tempo played as an eight note, Alessandro Scarlatti wrote:
“one plays (eight notes) in equal time.” Almost identical note is found on the score of
Keith Jarett’s The Fields We Know: “straight 8ths”. If we make a conclusion, it seems
obvious that both sides have certain rhythmical flexibilities, which are mutual, in
interpreting the word, allowing the performer to be an active and creative participant
in making composition alive.

Harmony
The harmonic languages of Baroque and traditional jazz are related, because they
equally use tonality as their foundation with the triad as the formal harmonic
building block. Notation of the chords, as well notation of the rhythm, shows a close
resemblance between the two styles. We should compare the examples 3.3a and 3.3b
below:

These two pieces show the bass (or the melody) with numbers indicating their
respective harmonies. Example 3.4 is a possible realization of the figure bass given in
example 3.3a.

31
Example 3.3a gives us a conventional figured bass, with clues about what the
harmonies might be without any precision about voicing or individual lines. We
know that during the Baroque era, in many cases the figures were often missing or
incomplete, and it was left to the accompanist to create more or less improvised
realizations. The following sentence by Michel de Saint-Lambert, support this
opinion: “You can sometimes change the chord marked on the notes, when you
judge that others will suit better.”
Again, we can find evidence that Baroque music was composed and performed in a
very open atmosphere. It was the “living music” of its time, and performers had
space to exercise their improvisational skills, following the rhythmic, melodic, and
harmonic pulse rather than just a written note.
Of course, a similar principle occurs in jazz. As example 3.3b (featuring familiar
standard Alone Together) and its realization in example 3.5 show, that the
accompanist is given full freedom in his interpretation.

32
Improvisation and Form

Although Baroque music did not rely so much on spontaneous creativity and
individualism as jazz or, even more, Instrumental West African music, there are
many examples (as figured bass) that show a great deal of creative freedom. G. F.
Handel was well known of his often improvised slow movements which came out of
only bare harmonic and melodic sketches. Many great improvisers, such as J.S. Bach
or S.L. Weiss, were able to create whole fugues and other Baroque forms on the spot,
as well as to make improvised dialogues.
This was not only characteristic of composer-performers. Also, other Baroque
performers were expected to give individualistic and creative interpretations of a
work. They were not supposed to be ‘usic machines’, as we see to often in
contemporary interpretations of works from that era. We should never
underestimate importance of a creative approach to this music.
“Baroque and jazz, share not only the good qualities but the bad ones as well. Have
you ever noticed how similarly uninteresting a mediocre Baroque composition
sounds when compared with an unimaginative jazz performance? The reason for
this, in my opinion, is the great unity and similarity of material; pattern-based,

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improvisatory lines tend to get repetitious and uninteresting in the hands of a minor
talent.” (Dusan Bogdanovic, Ex Ovo, page 50)

Tempo, Dynamics, and Expression

It is pretty hard to find a right formula for determining tempo in Baroque or jazz. We
are lucky that jazz is a 20th century style, and that the presence of recorded music
gives very clear clues about the nature of tempi as well as about the interpretation of
particular styles and forms. Indications such as Jazz Waltz, Funky, Fast Bop, Upbeat,
give jazz musicians, hints of what kind of language or tempo is required. Between
those characters, a performer is given liberty to choose his own rhythmic pulse.
Even though there are many attempts to restore the exact tempi of Baroque dance
forms, since there are no recordings of the original interpretations, we are often left
to speculate. Luckily, there are texts like the one written by Thomas Morley (1557-
1602, English renaissance composer, organist): “Pavane is a kind of staid musicke,
ordained for grave dauncing,” or “A Galliard… a lighter and more stirring kind of
dauncing.”(text from Ex Ovo, page 50)
If we take, as an example, swing, samba, gigue or gavotte, we are talking about
dance music. No mater, how they refined, changed or improved became during the
process, their original form should be kept.
Interesting to mention would be the nature of Baroque keyboard instruments as a
reason of very often present ‘terrace dynamics’. “As Baroque music suffered from the
lack of subtle and gradual dynamics, so has jazz from the overuse of
amplification.”(D.B. Ex Ovo, page 50) Today, most of the jazz musicians rely on the
electronic equipment, for performing and recording; so, what comes as a result is
that, if we want to here some fine nuances in jazz, we have to listen to old recordings.
The following text describes a performance by the famous Italian violinist and
composer Arcangelo Corelli:

I never met with any other man that suffered his passion to hurry him away so much whilst he
was playing on the violin as the famous Arcangelo Corelli, whose eyes will sometimes turn as red

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as fire; his countenance will be distorted, his eyeballs roll as in an agony, and he gives in so much to
what he is doing that he doth look like the same man.
(Francois Raquenet, 1702, Parallele des italiens et de francois, en ce qui regarde la
musique et les operas, Paris.)
( text from Ex Ovo, page 52)

If we didn’t know that this text dates from 1702.we could easily mistaken it with a
description of a temperament jazz musician. This and similar texts are also showing
something about particular rules about expressing Baroque music, in a way that
there is specific regional and social code present, more than a internationally
accepted code of performing.
“Actually, the very idea of an ‘authentic’ or ‘pure’ style is a contemporary invention,
which would have left Baroque musicians probably puzzled and perplexed.” (Dusan
Bogdanovic, Ex Ovo, page 52)

Ex Ovo

“Improvisation and composition reflect two aspects of human creativity: one is a

spontaneous act from an impulse in the present; the other, an unfolding of
preconceived reality.”
“Bond by the moment, improvisation often sacrifices the intricate carving of
constructed form and detail to the fleeting wonder of the present. By “freezing the
process in time”, composition on the other hand, gives the creator a possibility of
infinite refinement and control. In consequence, it risks a life sentence in a prison of
perfection and stasis. At their best, however, improvisation and composition are
almost indistinguishable; improvisation is composition (in its structural integrity),
and composition is improvisation (in its fluidity and freshness).”(D.B. Ex Ovo, page 55)
In this chapter of the book we see an attempt to approach improvisation from a
compositional perspective. Instead of focusing only on melodic elaboration based on
harmonic movements, this approach builds trough motivic transformation. The ‘egg’
out of which the form develops is looked at from different angles: examples 4.1-4.4
show the basic formal tools; examples 4.5-4.11 focus mainly on the rhythmic

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transformation of motivic cells; and examples 4.12-4.14 introduce some important
aspects of counterpoint technique.
At the beginning we have Lydian mode with a minor seventh (example 4.1a) and a
diminished (octatonic) scale (example 4.1b). Author have selected those two modes
as the main harmonic actors in this chapter, since they conveniently share a large
number of pivot notes (E, G#, A# ,H C#, D) which, in turn, make possible fine
transition between one and the other mode.

Examples 4.2a and 4.2b demonstrate quartal harmonies built on the two modes, and
example 4.3 shows the alternative chords that may be used instead. As a conclusion,
example 4.4a shows a ninth chord (without the third) transposed, and example 4.4b
a poly modal variant, where the upper triads of the Lydian mode are superposed
with intervals belonging to the diminished scale.

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The following section elaborates on the rhythmical variation and transformation of
melodic cells derived from two successive fourths (example 4.5a). Unlike variation,
which presents mostly spontaneous alterations of motivic material, transformation
deals with more defined processes.

Example 4.6 shows similar melodic material interpreted in different rhythmical

context.

In last two examples we saw pretty unchanged skeleton of the cell, unlikely example
4.7 shows more change in the structure of the motif itself. Example 4.7 elongates the
motif by transposition and free permutation; examples 4.7b-d show the cell
interpreted in different metric context. Example 4.7b subdivides the pattern to 12/16
(3+3+3+3); example 4.7c, to 10/16 (2+3+2+3). Example 4.7d uses an irregular metric
structure (2+3+4+6).

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Metric modulation is another way of varying and developing the motif. While
example 4.8a creates an odd-meter subdivision 5/8 within the triplet feel, examples
4.8 b and 4.8c show the same phrase, but in the context of an actual metric
interpretation – a translation of the pattern from one metric map to another.

The following examples are showing a further development of the counterpoint.

Example 4.13a shows the 2:1 proportion; example 4.13b, 3:1; example 4.13c, 4:1.
Example 4.13d shows the ligature, and examples 4.13e and 4.13f demonstrate
counterpoint in the bass (2:1 and 4:1).

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“Lucky are the pianists whose independence of hands permits them a wide variety of
rhythmical super positions!” (D.B. Ex Ovo, Page 61) In the next few closing examples we
will see more challenging patterns. Example 4.14a shows 5:1 proportion; example
4.14b, 3:2; example 4.14c, 5:2; and example 4.14d, 5:3.

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40
41
 III
Six Balkan Miniatures
For World Peace

“These days of political turmoil in Eastern Europe find their focus especially in
Yugoslavia, the heart of the Balkans, and my homeland. It is both tragic and ironic to
see the further disintegration of the land and the people, while being aware of the
unique cultural stamp of the whole area. So, it might be that the art among other
universal human endeavors, still shows us a way of harmonizing and synthesizing
the most diverse elements coming from the same source. It is in this spirit that I
dedicate this music to World Peace.” Dusan Bogdanovic (introduction to Six Balkan
Miniatures, 1991.)

History of the Balkan Peninsula had thought us about constant migrations and
colonization of different tribes and nations observing a period from ancient times
until the First World War. It was a permanent process of changing states, borders
and mixing of different cultures. Greek, Roman, Byzantine and Oriental gave a great
cultural impact and left an indelible mark on Balkan folk. Every nation, trough out its
own history, was accepting masses of refuges from various countries within their
spiritual and cultural treasures, enriching its own inheritance, as well as the folklore
legacy of whole region. All this, left a signature marks in language, customs, dances,
and music tradition.

Asymmetric, or unpaired rhythm, represents one of the vital characteristics of Balkan

musical folklore. At first, it was discovered by Bulgarian scholars D. Kristov and V.
Stojin in nineteen-thirties. Because of the frequency of it in Bulgarian folk music and
the fact that Bulgarian musicologist noted it first, it was simply called ‘Bulgarian
rhythm’, (even Bela Bartok used the term ‘So called Bulgarian rhythm’). Sometime
later, in 1952, Romanian musicologist and folklorist Konstantin Brailoju contended

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that the appellation ‘Bulgarian rhythm’ was inadequate, arguing that this
asymmetrical rhythm had been noted in several other countries. After, in according
with a fellow musicologist Adnan Sajgun, he changed the term to ‘aksak’(Turkish
expression meaning cripple or limping).
Traditional forms of aksak rhythms are displaying in constant pulsing of metro
rhythmic groups trough out, using two types of beats (long and short), instead of
just one type, like in usual rhythm.
Six Balkan Miniatures is a composition inspired by Serbian, Macedonian, as well as
Rumanian and Bulgarian folklore, in fact, its represents a synthesis of Balkan rhythm,
melody and harmony. Relation between miniatures is based on contrast in character
and tempo, and analogy in melodic and rhythmic material. In all of the movements,
harmony is modally based. Most common are Lydian and Dorian mode. For
construction of the melodic lines, composer often uses augmented second, which
represents a mode characteristic, but also a quality of melodies from the region.

As said before, rhythmical structure is produced trough characteristic unpaired

rhythms. First presented is 11/16 (2 2 3 2 2) in Morning Dance. We find this rhythm
usually in Bulgaria, in dances called ‘Kopanica’ or ‘Gankino’. Name Kopanica
derived from ‘kopam’, which means ‘to dig’, referring to sharp up and down
motions. Dances with this measure are also to be found in Macedonia (Sedenka,
Pletenica, Skopsko). Interesting to notice is that we have a dance named Kopanica,
also in Macedonia, but in 2/4 measure. It may be that, in last movement (Sitni Vez),
composer wanted to connect those two variants (Macedonian and Bulgarian) with
combination of 11/16 at the beginning, and 2/4 meter, in 12th and 22nd bar.
In third miniature (Vranjanka) we have 7/8 and 5/8; Macedonian Dance expands
5/8 and 5/4 combined with 3/4 at the end, while Sitni Vez is a movement with a
widest rhythmical varieties (11/16, 13/16, 2/4, 10/16, 2/8, 7/8), but all the time
supporting a logical shaping of the melody.

Structure and form of the Miniatures is very simple; binary or ternary form
constructed by repetition of sentences and phrases. Characteristic motif that we listen

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trough whole piece (in different varieties) is presented at the very beginning (first
two bars).

My impression is that with presenting the same material trough different

transformative processes, composer gave very important role to a performer, a space
to fill with his own creativity and imagination. This could come up as a one of basic
characteristics of Dusan’s work.

Points about Technical Structure (to fellow guitarists)

With this section I would try to give some short guiding notes about interpretation of
this well known piece. Since I had chance to play it many times, the advices and tips I
am about to offer could maybe be useful, especially to the players with no experience
in “odd” rhythms, particular temperament and melodic substance this piece require.

I. Jutarnje Kolo (Morning Dance)

At the very beginning we have 11/16 measure, and a mistake in marking the tempo;
instead of a quarter note, an eight note should be 152 bps. You may have problems
practicing this rhythm with the metronome, because of the unpaired beat; my advice
would be to practice it first with metronome beating the sixteenth note; after 200 bps,
its very important to start with eight note beating around 80 bps.
Marking poco sostenuto should be very respected not only because of particular
phrasing reasons; since it is difficult to choose the right tempo, prolonging the first
few notes could be an important matter in controlling the rhythmical flow.
Second part starts with a repetition of the opening motif in a D mixolydian mode;
note a changing of color in third bar; with making this change radically, we could
shape a question-answer articulation, typical for Balkan folk music.
The piece ends with two pizzicato notes under decrescendo and mp dynamic marks.
Knowing the nature of the guitar pizzicato, I think that we couldn’t be wrong in
playing those notes a bit louder, escaping the danger of loosing a rhythmical ending
by playing two silent notes.

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 II. Zalopojka (Lament)
In translation from Serbian, ‘Zalopojka’ would mean ‘A sad song’. Even without a
translation, character of this piece is very clear. Here are some advices how to bring
this atmosphere to life. First would be to start the melody on the second string, with
trying not to cut it with proceeding chords underneath. First note (A), played on the
10th fret, marks a perfect spot for most of the guitars to give any kind of vibrato. We
should be aware that the phrase is very long (six bars). As an answer, it is good to
play repetition of the phrase on the first string, and use color difference as an
expression tool. Repetition lasts also six bars and ending with a D major as a
surprise. Last chord, d-a, especially d, shouldn’t be to quiet, not to sound as a
mistake.

III. Vranjanka
Vranjanka – in translation ‘a girl from Vranje’ (south Serbian city) is, as told before,
the only movement based on the existing dance, typical for this region. Beside a
dance, it has lyrics that are explaining the pain of love that man feels when left out of
his darling. I think that was the idea of the Pesante at the beginning. Trough out the
piece we should keep this character, paying attention of all the accents and,
especially, coronas, which are most of the time pointed in the space between the
notes, suggesting tangle and weeping.
A chord over the sfz marking at the beginning can also be played with a thumb flesh
hitting the 6th and 5th string sul ponticello, using more the bass characteristic of 6th
string tuned on D, and creating a ‘Darabuka’ effect, (percussion instrument typical in
Balkan folklore).

IV. Makedonsko Kolo (Macedonian Dance)

One of the nations that differ the most from the Balkan surrounding, observing its
cultural heritage (customs, dances, lyrics, especially music itself) is Macedonian. As I
visit this country several times, I got a chance of knowing its musical virtuosity and
rhythmical complexity. What inspired me the most was listening to authentic
quartets, consisting of three string-plucking instrument and percussion. Fascinating

45
to hear was how they were streaming together trough very complex meter changes.
At the end of the one particular performance, I asked one musician how do they
count while playing, and he answered: ‘Count? We are not counting at all!’ So, it is
pretty obvious that they were playing just by following the ‘well known’ melodies.
In order to connect this introduction to fourth movement, I would suggest that the
main part of making this piece functional and effective should be to preserve melodic
line over the tough chords and meter changes, against very fast tempo. To achieve
this, we have to work very hard, especially on the left hand. It would make things
easier if we try to make a strong but very short pressure on every accented chord.
Note the ornament in the fourth bar; I heard many people playing this ornament
with just one legato strike and found it very modest, since the ornaments are taking
an important role in creating an adequate expression in this music. If we want to
make a suitable ornament in fast tempo, my proposal would be to make double
legato, but starting from the upper tone (G# - F# - G# - F#) and changing the finger
on repetition of G# (3 -1 – 2- 1), like the ornaments we find in Baroque literature.

V. Siroko (Wide Song)

This movement represents a mosaic of a two-note motif shown in different
transformative parameters. At the beginning of every phrase we should isolate those
two notes, using rest of the material as an echo effect, yet all in purpose of creating a
single melody with its wide dynamic bow, reaching the top in 5th line appassionato
and disappearing trough F major 7chord at the end. Siroko displays a big thematic
contrast to fourth and sixth movement, with its long open-string chords, what could
be used for deep breathing, and concentrating on what is next to come.

VI. Sitni Vez (Tiny-knit Dance)

In translation, ‘Sitni Vez’ is an overall expression, responding to anything made with
a fine preciseness, and virtuosity. Literary, it’s a needle work, one that can still be
found by our grandmothers, but also corresponds with a football playing with fast
dribbling in a small space. According to the preface of the whole piece, author
alluded on fast fingers of ‘Frula’(characteristic type of flute) players. Allowing for all
this facts, it’s obvious that the piece should be very fast and virtuous, but still, I find

46
the proposed tempo to fast. Since the first, fourth and sixth movement are
interrelated, we could make the same phrasing on the first few notes as in Morning
Dance (poco sostenuto). I prefer starting with this articulation and accelerate
gradually, until satisfying tempo speed.
One of the main technical problems in this movement, besides articulating the bass
line and playing in fast tempo are the slurs. We must be very willful in building a
strong but relaxed stroke on the string, especially in closing section, where it should
be done over the D major chord. I spend most of the time striking the string from the
biggest possible distance, producing a thud percussive sound on the fingerboard.

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